Friday, August 17, 2007

I have some more.

It's Friday, thus, I give 5 more of my embarrassing movie confessions.

01. At some points during Steven Spielberg’s Munich, I got Geoffrey Rush and Ciaran Hinds’ characters mixed up, at times even thinking they were the same character. Shameful, I know.

02. I laughed all the way through Blue Velvet. The laughter were initially due to Kyle McLachlan’s attempts to act, but then, when Dennis Hopper’s psychoperv Frank Booth emerged, I just thought it was the most hilariously piss-poor thing I’d ever seen, and couldn’t stop laughing.

03. I’d take Legally Blonde over Citizen Kane, any day of the week.

04. Whilst I recognise The Godfather to be the more accomplished movie, I get more personal satisfaction from watching Coppola’s The Conversation.

05. District 13 is one of my favourite action movies, an absolutely exhilarating leave-your-brain-at-home, adrenaline rush, comic book of a movie.


Besty said...

Are you punishing me? Did you make that Lynch entry because of my 300?

J.D. said...

On #1, I think I did too a couple of times...

On #3, I probably completely agree. Citizen Kane is not really a feel good movie, is it?

And here's one more for me:

The first time I ever went to an IMAX theatre was in 2003, for The Lion King. I went with my Mom and Dad, and after a ramp-off the thruway it's about 30 seconds when you take a left. We took the right. And we went for about four miles without realizing it. And then we turned around, and we found it. That was about 45 minutes wasted. So, we got to the theatre, and because we've never been there, we didn't know where you enter the IMAX (it's an 18-screen theatre with the IMAX as abridged to it), and we were searching around the theatre itself for about 10 minutes.

And then we released it, and went inside. We wasted an hour. And guess what? We missed the entire "Circle of Life" opening, which was the main point of going!

It's pretty funny thinking about it.

Art said...

I didn't laugh at Blue Velvet, but it was a very disappointing film for me.

Kayleigh said...

I rate Reese Witherspoon's Oscar win to be as big a travesty as Crash beating Brokeback Mountain.

I love the first Tomb Raider movie.

William Hurt deserved an Oscar for his 5 minutes in A History Of Violence.

Anonymous said...

There isn't anything to be ashamed about with #4.

- Dan

Piper said...

These are bold. Good for you. I don't care the least for Legally Blond but you make a good point by saying there are good classics, but then there are everyday movies that are more watchable. I love Citizen Kane but I won't sit through it time and time again the way I might sit through An American President - my guilty pleasure.

I have never seen District 13, but you have sparked my interest. I'll have to add it to the list.

Anonymous said...

In electrodynamics, polarization (also spelled polarisation) is the property of electromagnetic waves, such as light, that describes the direction of the transverse electric field. More generally, the polarization of a transverse wave describes the direction of oscillation in the plane perpendicular to the direction of travel. Longitudinal waves such as sound waves do not exhibit polarization, because for these waves the direction of oscillation is along the direction of travel.
Stress analysis
Stress analysis is an engineering discipline that determines the stress in materials and structures subjected to static or dynamic forces or loads (see statics and dynamics) (alternately, in linear elastic systems, strain can be used in place of stress).
The aim of the analysis is usually to determine whether the element or collection of elements, usually referred to as a structure, can safely withstand the specified forces. This is achieved when the determined stress from the applied force(s) is less than the ultimate tensile strength, ultimate compressive strength or fatigue strength the material is known to be able to withstand, though ordinarily a safety factor is applied in design.
A key part of analysis involves determining the type of loads acting on a structure, including tension, compression, shear, torsion, bending, or combinations of such loads.
Sometimes the term stress analysis is applied to mathematical or computational methods applied to structures that do not yet exist, such as a proposed aerodynamic structure, or to large structures such as a building, a machine, a reactor vessel or a piping system.
A stress analysis can also be made by actually applying the force(s) to an existing element or structure and then determining the resulting stress using sensors, but in this case the process would more properly be known as testing (destructive or non-destructive). In this case special equipment, such as a wind tunnel, or various hydraulic mechanisms, or simply weights are used to apply the static or dynamic loading.
When forces are applied, or expected to be applied, repeatedly, nearly all materials will rupture or fail at a lower stress than they would otherwise. The analysis to determine stresses under these cyclic loading conditions is termed fatigue analysis and is most often applied to aerodynamic structural systems.

The evaluation of loads and stresses within structures is directed to finding the load transfer path. Loads will be transferred by physical contact between the various component parts and within structures. The load transfer may be identified visually, or by simple logic for simple structures. For more complex structures, more complex methods such as theortical solid mechanics or by numerical methods may be required. Numerical methods include Direct Stiffness Method which is also referred to as the Finite element method.
The object is to determine the critical stresses in each part, and compare them to the strength of the material (see Strength of materials).
For parts that have broken in service, a Forensic engineering or failure analysis is performed to , where broken parts are analysed for the cause or causes of failure. The method seeks to identify the weakest component in the load path. If this is the part which actually failed, then it may corroborate independent evidence of the failure. If not, then another explanation has to be sought, such as a defective part with a lower tensile strength than it should for example.

Bees and Polarization
Dancing under a Polarized Sky
"Each bee on her return is followed by three or four companions . . . how they do it has not yet been observed" Aristotle, Historia Animalium, IX"In the summer of 1944 a few very simple experiments led to a result that was just as unexpected as it was thrilling" Karl von Frisch on the discovery of the dance language of bees [1].Soon after the end of World War II in war ravaged Germany, Frisch was observing the dance of bees and "reading" the language he himself had recently deciphered. In a way, he was feeling ecstatic: he could eavesdrop in the bee conversation and interpret their symbolic language. He understood the eight-shaped dance meant, for example, nectar 1.5 km away and at 30 degrees from the current position of the sun. On several occasions he had astonished neighbors by telling them that his bees were feeding from sources on their farms which he had not seen. The human and insect brain had never communicated in such a way before. But at the same time he was baffled.How could the bee know the position of the sun? At that time he was studying the bee dance on a comb placed horizontally. Previous experiments had proven conclusively that bees used the sun as a compass. He could even rotate at will the dance by replacing the sun with a lamp. If the horizontal comb was covered and illuminated by diffuse light, the dances were disoriented. But somehow they became oriented again if the bee could see a small patch of blue sky. As hard as it was to believe at the time, Frisch concluded that the bee could see the polarization pattern of the sky! Later, other researchers discovered many other animals sensitive to polarized light (eyes), some of which could use it for navigation, as the bee does. But this capacity was discovered in honeybees first because they gave away their secret through their dance language.
The Dance FloorBees returning to the beehive after finding a good supply of food will communicate to other bees by dancing at a particular region in the comb: the dance floor. The dance floor is generally close to the entrance but sometimes moves, e.g. goes further inside when it is cold or closer to the entrance when there is lots of activity. In Nature honey combs are vertical, so the dance is generally performed on a vertical plane. This is of great significance for the bee dance as the language must provide information of horizontal directions on a vertical plane. However, when the weather is very warm the dance floor may move outside the entrance to a horizontal flight board. It is also horizontal in some primitive bee species and can always be made horizontal by the human experimenter. Dances on oblique dancing floors can also happen, mainly on the obliquely rounded lower edge of a free-hanging comb or on the rounded swarm cluster bees form when looking for a new nesting place. Notice that in nature the vertical dancing floor is inside the hive and thus quite dark while the horizontal one is generally under the open sky. The Bee Dancing RepertoireRound DanceWhen a foraging bee finds food close to the beehive, it performs its simplest dance, the Round Dance. This dance doesn't provide much information, it is more of an arousal signal. The forager bee runs in a small circle, leaving a single cell inside it. Every one or two circles it suddenly reverses orientation and this goes on from seconds to minutes. The bees recruited follow the dancer on the floor and then fly off by themselves looking for the food. If these bees haven't been feeding at a particular place before, they will look for food in every direction in the proximity of the beehive. However, the dancing bee also gives away odors that can be recognized by bees frequenting the same flowers, who will fly directly to them. Tail-Wagging DanceWhen the goal is further away, the bees need more sophisticated means of communication. If food is scarce, bees have been known to feed up to about 15 km (~10 miles) from the beehive. In relation to the small size of this animal these distances are outstanding. Although a bee flying to a known source of food uses as references conspicuous landmarks in addition to the sun compass, it can only communicate information about the latter to fellow bees. The Tail-Wagging dance tells the other bees very accurately at what distance and in which direction the food is, so they can look for it by themselves. Some European honeybees start to perform it when the source of food is more than 100 meters away. Other bee species will do them for closer sources, up to just a few meters away in the case of some Indian bees. For intermediate distances there is a gradual transition between the round dance and the tail-wagging dance.In a typical tail-wagging dance the honeybee (Apis Melliphera) runs straight ahead for a short distance, returns in a semicircle to the starting point, again runs through the straight stretch, describes a semicircle in the opposite direction and so on in regular alternation. The straight part of the run is given particular emphasis by a vigorous wagging of the body (rapid rhythmic sidewise deflections). In addition, during the tail-wagging portion of the dance it emits a buzzing sound. Interestingly, the dance followers can make the dancer pause and give them a taste of the nectar by using a squeaking sound. Distance InformationWith increasing distance the number of circuits (8's) per unit time decreases and the length and duration of the individual circuits increases. For example, for a goal at 100 meters it makes 10 short circuits in 15 seconds but at 3 km only 3 long circuits in the same time. The duration of the wagging part has the best correlation with distance. The distance is calculated based on the expenditure of energy on the flight towards the source (a head-wind increases it). Each recruited bee averages many dance circuits or even several dances from different bees to calculate the distance. For each bee species a distance-frequency curve can be plotted. It is remarkably precise, especially if the distance is not close to their foraging range limit. Since d/dx (sin x) = cos xIt follows that S cosdCompass InformationIf the dance floor is horizontal (the least common case in Nature), the indication of direction is straight-forward: the wagging (straight) portion of the eight-figure dance points towards the food source (and in the same direction as the bee runs through it). But, what does the dancing bee use as compass to accurately point in the right direction? The bee reference is the direction of the sun. This can be demonstrated easily by covering the sky and using a lamp as an artificial sun: the direction of dancing will rotate, always maintaining the same angle with the lamp as the angle with the sun during direct flight towards the food.If the dance floor is vertical the indication of direction requires a higher-level language that can communicate horizontal directions with an indirect, symbolic, representation. In a vertical plane the natural reference is gravity, so the dancer replaces the real reference, the sun, by the "UP" direction. For example, if the bee maintained the sun 70 degrees to her left when flying towards the nectar, the wagging portion of her dance will point 70 degrees in the clockwise direction from the upwards vertical direction. The bee transposes the solar angle into a gravitational angle! On an oblique comb the gravitational transposition works well up to an angle of about 10 degrees to the horizontal.
Then, the stress crystals squeeze together to form a stress